What kind of book is the famous literary work "Twenty-Four Poems" of Sikong Tu?

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The Twenty-Four Poems were written by The Tang Dynasty Sikong Tu and abbreviated as "Poetry", which is different from Zhong Rongpin's commentary on the origin of Wei Qiliang's poets, and is a work on the aesthetic style of poetry.

Discussing stylistic styles, Wei Shi Cao Pi's "Treatise on Classics and Essays" has opened its source. Later, Lu Ji's "Wen Fu", Liu Xun's "Wenxin Carved Dragon" and even Tang Shijiaoran's "Poetic Style" continued to develop and deepen his exposition. Shi Jiaoran divided the aesthetic style of poetry into nineteen types, calling it "nineteen bodies", and Sikong Tu expanded Shi Jiaoran's "nineteen bodies" into "twenty-four products", which was not only more meticulous and meticulous, but also greatly developed in aesthetic theory.

On the basis of drawing on the expositions of previous generations of literary theorists, Sikong Tu proceeded from his own hobbies and creative experience, elevated the practice and brilliant creative achievements of the development of Tang poetry in the past three hundred years since the Tang Dynasty into a theory, and divided the aesthetic style of poetry into twenty-four products, such as majestic, diluted, delicate, composed, high ancient, elegant, refined, vigorous, beautiful, natural, subtle, bold, spiritual, meticulous, sparse, clear, weiqu, reality, sadness, description, transcendence, elegance, elegance, elegance, and flow. Each product is expressed in twelve four-sentence rhymes. Use figurative, suggestive, symbolic and other figurative thinking methods to let the reader understand the meaning. For example, "fiber" cloud "harvesting flowing water, pengpeng far spring; deep valley, sometimes see beauty." Peach full of trees, wind and sun waterfront, willow yin road curve, flowing warblers next to each other. The more you multiply, the more true your knowledge becomes. If it will not be exhausted, it will be new with the ancient. ”

In addition to discussing the twenty-four poetic aesthetic styles, the "Twenty-Four Pins" also show Sikong Tu's understanding and elaboration of the essential characteristics of poetic art in the "Majestic" and "Flowing" poems, believing that the essence of beauty lies in the "Tao", and beauty exists in both nature and society, so the aesthetic style of the Twenty-Four Pins is compared to different natural scenes and social phenomena. The natural scenery and social phenomena here have become an intermediary, and Sikong Tu translates the poetic style aesthetics he wants to expound into the objective beauty hidden in the natural world and social material and spirit, and then restores it when the reader reads, from the recognition of the objective beauty that exists in nature and society, to understand the theoretical meaning that the aesthetician wants to express. Many of the words also involve creative methods related to the formation of styles and artistic conceptions.

Sikong Tu's poems most admire the style of Wang Wei, Wei Yingwu and others, and their own creations also pursue "rhyme outside the cause" and "the purpose of the taste outside", the description of the secluded life in the mountainous forest, the wind tone diluted and lofty, full of charm. Therefore, among the twenty-four styles he discussed, he particularly favored the diluted, natural, and subtle aesthetic style. Advocate "without a word, do your best to get the wind flow" (implicit products), "falling flowers without words, people are light as chrysanthemums" (elegant products), "out of the ancient heart, faint and unobtainable" (Qing Qipin), "beyond the image, get its ring" (Xionghun products), "with the Tao, hands into spring" (natural products). I think that "hair fiber is in the ancient, sent to the taste of the indifferent" is a deeper aesthetic realm than the general fiber and taste.

With its profound theory and unique exposition method, the Twenty-Four Poems occupied an important position in the Tang Dynasty and even in the history of Chinese aesthetics, and had a great impact on future generations. Su Shi, Yan Yu of the Song Dynasty, Wang Shizhen, Yuan Ming, Gu Han and others of the Qing Dynasty were all in the pre-Wu style, and their clothes were aestheticians, not a generation.

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